This effervescent, power packed, two-and-a-half-hour stage version is being presented by Mandurah’s Performing Arts Centre and Stray Cats Productions with generous support from the City of Mandurah. Shows are at 7.30 each evening until Saturday 8^th October. There are sparkling matinées on Saturday and Sunday at 2.00.

This is the same outstanding team that brought major productions to Mandurah, such as ‘Mary Poppins’ and ‘Wicked’. Both sold out for almost every show.

The innovative Set Designer was Karen Francis, who sensibly built whole sitting rooms, outback stations and cafés on wheels so the scene could be changed in minimal time with least manpower. Bronwyn White supervised the varied, colourful artwork that covered everything from the stained glass windows of the church (helped by Peter Francis), to the Wild West, boot scooting venue. The numerous props were well sourced by Sheryl Gale. The set builders also included Pat Francis, Jon Lambert, Robin and Lexie Sleet, Mark Bone, Mal Thompson. Duncan Anderson, Rory Ellis and Trevs Carpets.

The headset microphones worked perfectly, thanks to Charlotte Roberts. Karen Francis’ lighting design was lively and added excitement to the show. Well done spotlight operators Thea Clarke and Khaijun Pearce.

       The curtain rises and the theatre explodes into the opening number. Youngsters run down the aisles and onto the stage. With around 80 singers and dancers on the stage, it is vibrant.

       When teenager, Ren (Jason Arrow) is abandoned by his father, he and his Mum, Ethel (Sonja Pich), move from Chicago to the Mid-West, woop woop town of Bomont to live with Ren’s Aunt Lulu (Sarah Bridgeman) and his Uncle Wes (Jarrad Cas Thomas).

      At Ren’s new school is Ariel (Georgia McGivern), the sought-after daughter of the puritanical minister, Reverend Shaw (Scott Hanson) and his wife, Vi (Kristie Gray). Ariel has an obnoxious boyfriend, Chuck Cranston (Tate Bennett), who works at the local garage with wasters, Travis (Bailey Bridgeman-Peters) and Lyle (Brandan Halsey).

      Ariel’s school friends, Wendy-Jo (Kelsey Skinner), Rusty (Susy Wiseman) and Urleen (Megan Burne) try to warn her about Chuck, but Ariel will not listen. Ren finds himself being cast out by the school Principal (Rach Hayter) for being too outspoken. The sports coach, Mr Dunbar (Peter Sydney-Smith) and his wife, Eleanor (Tracy Bolton), treat Ren dismally because they are the best friends of the Rev. Shaw.

       Whilst in Betty’s (Anita Telkamp) ‘Blast’ soda café, shy Willard (Nicholas Gaynor) explains that due to an accident seven years earlier, the town council has a ‘no pop music and no dancing’ policy. Horrified, Ren musters his classmates and tries – unsuccessfully – to demand a senior prom, and so with a group of friends they drive 100 miles to an untamed night of liberty at the Bar BQ Club. The Club is a wild place, where Bickle (Robbie Fieldwick), Bob (Andrew William Coshan) and his cowgirl (Lisa Taylor) boot scoot, as the singers chant.

      Can Ren win over Ariel’s heart? With the help of friends, Jeter (Alex White) and Garvin (Matthew Walford), can anything be done to change Reverend Moore’s mind?

The musical director and conductor David Hicks, was on his swansong; he was joined by band members Bronwen Herholdt (keyboard), Bec Moroney (woodwind), Kelly John McCarthy (bass guitar), Troy Plackett and William Christensen both on guitar, and with Mark Beasy on Drums. The music was lively and played with passion.

I do not want to detract from the high quality of the music, but because there was no orchestra pit – the musicians being on the same level as the audience – at times the drums were overpowering. I appreciate that they cannot be played quietly, and still give the feeling and the enthusiasm demanded by the show, but perhaps some room dividers around the drums, or a sheet of Perspex (as on the recent ‘Clinton – the musical’) could muffle the sound slightly. Incidentally, the drummer’s novel performance in the garage workshop was a musical highlight.

There was a massive cast, of around 60, who were all on stage most of the time. When a scene fills and empties, it must be instant, with no queues at the wings waiting to leave the stage. This process was VERY slickly stage managed by Rachel Hayter and Ruby Spinning, with assistance from Anita Telkamp, Wayne and Vanessa Gale.

Each cast member had several elaborate and beautifully styled costumes, ranging from the choristers with their gowns and vivid satin hoods, to the crazy cowboy and cowgirl outfits. The wardrobe mistress, Kerry Tarbuck, wisely enlisted the help of Linda Lowry, Michelle Thompson, Karen Francis, Jordan Hopkins, and Cathy Wainright to ensure that every performer looked their very best. The result was stunning, plenty of colour and quality costume construction, all based on that period three decades ago.

The amazing choreography, thanks to teachers Lisa Taylor and her assistant Danielle Taylor, was creative and energetic. Every dancer had intricate body, arm and hand movements, with styles that ranged from moonwalking, boot scooting, ballet and on to swing. Even the ‘useless Willard’ became a star in the end (well done Nicholas). In every dance scene or meeting, there were several groups of actors, who were all fully involved in different activities; this gave a huge depth to each section.

The director, Karen Francis and her vocal director Kristie Gray had to oversee dozens of youngsters and complicated teching, before they even got to the singing and dancing. Karen has been so lucky in having several WAAPA trained actors and dancers leading and performing in her team. One of the girls, Kelsey, danced and sang professionally with the others – and yet she is still a Year 11 student. So much enthusiastic talent, without a single weak link. Fabulous, very well-rehearsed cast.

The half dozen main cast members just left you gasping at the rich voices and energy packed performances.

This production had at a top line-up of talented singers, with perfect pitch and plenty of power in their voices. Just amazing. Mandurah has so much to offer.

Karen’s shows are always so very professional; always being better value than the expensive shows performed in the major theatres of Australia. One tends to forget that ‘Footloose’ is simply another Community Theatre production. Congratulations to all concerned, and an extra thanks to the City of Mandurah for giving the kids a chance, and giving us Perth dwellers an extra excuse to travel down to Mandurah for on a spring day.

It will not be long before Karen’s discoveries are on major productions travelling the world. Remember where you saw them first – Mandurah.

This 3-hour production is a joint venture between Stray Cats Theatre Company and the Mandurah Performing Arts Centre. It is wonderful to see a local shire giving the children of the town a chance to see live theatre.

The musical came to Mandurah on the wettest and wildest weekend in years. After a wonderful first night, the Saturday matinee suffered a power failure – twenty minutes from the end. Five hours later the power had still not been restored, and most of Mandurah’s houses and streets were in pitch darkness. However, having seen ’Mary Poppins’ and ‘Chitty Chitty Bang Bang’ the audience was not going to be put off, the crowds still turned up, and the Arts Centre was packed. The cast gathered in the gloom and, unaccompanied, sang their hearts out, giving their loyal audience a few numbers from the show. I had made a 120 kms return journey to see the show, and it was this singing that decided me to return a further 120 kms next morning, for the full show – well worth it.

It was decided to cancel the performance and have an extra at 10.00 the next morning. The three-hour performance went flawlessly, finishing at 1.00 leaving only an hour before this energy packed show hit the stage again.

The proscenium arch and the railings around the orchestra pit were covered in gold painted bicycle wheels of varying sizes. On the ceiling of the theatre, a massive dragon flapped its wings as smoke belched forth. A map of Munchkin Land (Alan White) is projected onto the safety curtain.

       The citizens of Oz are in the streets, celebrating the death of the uncaring, Elphaba (Kimberley Harris), when, from the sky, a bubble descends carrying the much-loved, blonde, giggling Galinda (Lisa Taylor) who just loves to tell everyone how good she is. Even the monkeys (Hayley Pilcher, Terina Henry, Tracy Harrington) are excited, as they do their aerial tricks.

       Glinda tells the Ozians how Elphaba’s mother (Malia Bennett) gave birth to a green-skinned baby. Her father, the Governor of Munchkinland (Scott Hansen) loathed her and gave all of his affection to her disabled sister, Nessarose (Cassandra Power). The girls are sent to Shiz University where the nasty Principal, Madame Morrible (Alyssa Burton) rules with a stern hand and a little sorcery.

       Elphaba’s favourite lecturer is the history teacher, Dr. Dillamond (Erik Bunch), a goat-like animal professor who is discriminated against and sacked by Madame Morrible. When the unscrupulous Prince, Fiyero (Joshua Towns) arrives, Galinda is immediately in love with him. Unfortunately, when a poor Munchkin Boq (Braeden Geuer) declares his love for Galinda, she suggests that he should love Nessarose instead. Boq ends up guiding Nessarose’s wheelchair (creators Jo Bickford, Peter Sydney-Smith) whilst still yearning after Galinda.

       Having no friends, Elphaba is taught by Galinda how to attract men, and Fiyero then shows interest. The two help rescue and free a caged lion cub. Soon, the famous Wizard (Peter Sydney-Smith) asks Elphaba to visit him at the Emerald City. Madame Morrible, who now works as the Wizard’s Press Secretary, gives Elphaba the ‘Grimmerie’ – a priceless spell book.

       When the Wizard’s acrobatic, monkey servant, Chistery (Bailey Bridge-man-Peters) sprouts wings, Elphaba realises it is the Wizard who has been cruelly controlling the Animals’ freedom. Not only that, the Wizard cannot read the special codes in the Grimmerie, he is in fact a fraud. Elphaba, now known as ‘The Wicked Witch of the West’ grabs a broomstick and flies off to sanity (Mechanical crew Stephen Carr, Jamie Murray). Meanwhile, ‘Glinda the Good’ starts working for the Wizard and Morrible, against Elphaba.

     On hearing Elphaba is to be ‘melted down’, Fiyero ignores Glinda’s approaches and goes to Elphaba’s rescue. On the death of her father, Nessarose becomes the Governor of Munchkinland, but still she cannot capture Boq’s heart. Elphaba tries to help Nessarose by giving her sister special, magical shoes and the power to walk. When Boq still shows no interest, Nessarose tries the Book of Spells, accidentally shrinking Boq’s heart; he turns into the ‘Tin Man’.

       Whom will Fiyero finally fall in love with? Will Elphaba remain cursed?

Other major players included Malia Bennett, Matthew Walford, Elizabeth Willow, Cat Perez, Corinna Gosby, Nicholas Gaynor and Jared Pettit.

The scenery crew, under the supervision of head builder, David Hartly, produced lively, intricate and amazing pieces. The quality of every piece of scenery was top-class, from the crashed witch’s house to the massive talking head of the Wizard. There were the retractable wings on the monkeys (Peter Francis) and the magical Hour Glass (Paul Fieldwick). At no stage was there the impression of ‘that will have to do’, the finish was always immaculate – great work by Peter Francis, Duncan Anderson, Mal Thompson, Alan White, Wayne Gale, Daniel Corbishley, Steven Sallur, Vanessa Thompson, and Alex Paolino. There were also several impressive backdrops and sets designed by Bronwyn White. Sheryl Gale supplied the numerous props, such as spears and oil lamps.

The sound was magnificent, with a great soundscape from Peter Lovell. Ruby Liddelow flawlessly operated the dozens of dreaded microphone headsets, often famed for their unreliability.

Karen Francis’s complex lighting design was outstanding, completely capturing the mood. The bio-box operator, Clint Gerard was impeccable, and the two spotlight operators (Thea Clarke, Khaijun Pearce) were smooth and accurate, even on the narrowest of beams. Visually exciting work from the team.

Then comes the result of months of sewing. Head seamstress Cathy Wainwright had to design several changes of costumes for the cast, a total of more than 300 costumes. She was helped by Linda Lowry, Jordan Hopkins, Kerry Tarbuck, Rebeka Thomas, Rhiannon Thomas, Michelle Thompson, Bronwyn White, Erin Thomson, Geraldine Harris and Pat Francis. Again, all of the costumes were trimmed with extras, many actors wore hats and fancy tights; the result was a visual feast. Then in combination with the makeup team of Jodie Mars, Rhiannon Francis and Monique Kinnest, the characters of Madame Morrible, Dillamond, the monkeys and Chistery came alive. Superb work.

The director, Karen Francis, was the major driving force, being intensely involved in almost every aspect of the production; she gave the cast drive, enthusiasm and confidence. The vocal director was Kristie Gray, who luckily had several trained vocalists – a special mention for Kimberley and Lisa who were magnificent, strongly backed by Alyssa and Cassandra. Even Joshua, who has performed in numerous quality dramas, sang admirably in this his first major musical. The powerful backing singers, who were positioned in the orchestra pit, were Kristie Gray, Kim Moore, Daniel R. Nixon, Jason Arrow, Sean Williams, Andrew Coshan and Alexandra Cornish.

Choreographer, Megan Doohan bravely faced around 60 extras to train and direct, and yet each performer gave routines packed with every ounce of strength and enthusiasm. They smiled, danced, sang in perfect harmony.

Musical director and conductor, David Hicks, had at the end of his baton, on reed Jennifer Currenti, David Lawrence, Blake Howieson and Liam House. On Brass, Aishah Chadwick-Stumpf, Jack Sirett, Harry Josland and Ned Holland. On percussion and keyboard, Mark Beasy, Sam Bradbury, Bronwen Herholdt, Vanitha Hart, Brendan Talty and Sarah Palmer. On string Stuart Robertson, Darsha Kumar, Liza Kotze, Josh Dunne and William Christensen. The orchestra, playing first thing on Sunday morning after a late night on Saturday, were still impeccable. A three-hour show is a marathon for a musician, to have an hours rest and then another marathon, was mind boggling. well done.

Holding the whole show together were Production Managers Bronwyn White and Ashleigh Riley, aided by Anita Telkamp and Rach Hayter, and with a cast of over 70, this was no easy task. However, at the end of every scene, the packed stage would empty silently and without any pandemonium in a couple of seconds. I have seen shows where even two or three actors have struggled to leave the stage without crowding.

Kristie Hennessey took the cast’s headshots. Jon Lambert’s excellent 16-sided, full colour gloss programme was being sold for only $5 – too cheap. Some patrons were apprehensive of buying one, thinking that, like the Burswood, the price would be around $25.

This production was the ULTIMATE in community theatre, very many congratulations. I just hope it was entered for the Finleys Awards.

Breath-taking, amazing, spectacular with 400 giving a standing ovation – what more can one say?